In today’s theory lesson we’ll be looking at Augmented Intervals, how to build theme and how to recognize the when you see them in written music.

Though the are easier than the Diminished Intervals we’ve looked at previously, you will still need a decent handle on Major and Perfect Intervals as these are going to be the foundation of how we look at building Augmented Intervals on guitar and on the staff.

So, it’s a bit trickier than previous intervals which only had one formula, which means it might be a good idea to review those articles if this stuff is new to you.

I guess my question is about context and can apply to augmented and diminished intervals.

I can see in the context of a chord where you would name the interval as augmented, like a G augmented 5th as a G major has the 5th as part of the triad, but in terms of an isolated interval what determines labelling the note as augmented rather than diminished?

At the risk of answering my own question I can see that you wouldn't often have to discuss intervals in isolation, without some kind of appreciation of the harmony / accompaniment, is that just it. It depends on what else is being played and using that as a reference.

I guess my question is about context and can apply to augmented and diminished intervals.

I can see in the context of a chord where you would name the interval as augmented, like a G augmented 5th as a G major has the 5th as part of the triad, but in terms of an isolated interval what determines labelling the note as augmented rather than diminished?

At the risk of answering my own question I can see that you wouldn't often have to discuss intervals in isolation, without some kind of appreciation of the harmony / accompaniment, is that just it. It depends on what else is being played and using that as a reference.

Yeah I think you basically answered your own question. If you had a Gdim chord you would use G Bb Db, so the interval between G and Db is a Diminished 5th. That sort of thing.

But, when analyzing classical music, especially melody lines, we do look at intervals in isolation if they are an integral part of the melody and need to be looked at.

So I would say that in the context of rock, pop, jazz etc., most of the time you're going to be analyzing intervals over chords, in a harmonic context. But, if you do take a classical theory class or get into that side of things, you will probably analyze intervals as part of a melody line as well.